Chimpazilla

It is indeed a wave sausage, it's full but not clipping, so it's actually mastered well. I'm seeing an RMS of -7.5db and that's just fine, and it's not distorting at all. Things are balanced well. But yeah, there really could be a break from the loudness level. I've just learned this lesson myself on one of my own tracks. On my track, I actually went back and revised a full minute of relentlessness to turn it into a breakdown, buildup and drop around the halfway point, which I think was a significant arrangement improvement (and that was the feedback I got, as well). This track could benefit from that same revision. I hear plenty of source use. The intro piano is very stiff and exposed while it plays there alone, it really doesn't fit with the synth soundscape that follows. It is transitioned pretty well into the synth part, but still I would have preferred a synthetic intro timbre to this stiff and unhumanized piano. Some really great sfx would help to open the track up, even just some gated white noise or something. When the first saw lead arrives, it sounds really loud and dry to me. This saw isn't my favorite lead timbre and the writing is simple and stiff, but it works well enough, especially when it is doing call/response with the wubby fills. The bass tomfoolery is quite good I think, lots of fun detail. The little vocoded bits starting at 1:53 are awesome. Some of the bass bits and fills repeat again and again, but they are cool enough to withstand the repetition. The kick and snare groove is simple and repetitive but the hat fills make up for it imo. The kick timbre isn't the right fit for this track I think, it has a pop sound to it and not a lot of meat, I think a dubstep kick would fit better and have more impact. The snare fits just fine. Even with these criticisms, I think the track is very creative and cool! I'm going with it. YES

Agreed with Wes 100% here. That guitar could go either way, couldn't it... the repetition of the exact same take of the motif does make it sound sequenced to me. The swingy hats don't really compliment this arrangement for me either, perhaps it would work if the swing only made cameos and wasn't the entire length of the track. It could be cool as a little fill, but the rest of the track is swing-free so it feels awkward as a continuous groove. The brushed snare swirling is too loud and dry I think. I'm not honestly sure that this theme goes very well with the backing chord structure that has been set up, maybe if there was a little bit of variation on the main motif it would fit better harmonically to my ears, but perhaps I'm just grandma-ing jazz, this is a possibility. I think it is the first piano chord in each phrase that is blowing it for me. Regardless, the main theme repeats too many times verbatim for my liking. Piano sounds good to me, but the chord pattern repeats again and again. Overall I'm finding a lot more repetition in this arrangement than I'd like, but the concept is solid. I'm also not a fan of fadeout endings, I find it a cop out. NO (resubmit)

I read Wes's vote and I have to say "what he said." He covered the issues perfectly. Wow, what a concept. I love the chord structures here. Unhumanized strings are a bummer since they are so exposed. For a short mix, having nearly a minute of it be that quiet just doesn't make for a nice flow. What about adding some sfx there, or some kind of padding or filler? It doesn't have to be as loud as the rest of the track, just louder than it is now, for at least a portion of that minute-long section. As Wes said, great concept but not there for me yet, either. NO (resubmit)

Nice arrangement. I like the grungy bass timbres but I feel like they are mixed on the loud side, they obscure the leads. The lead timbres are on the vanilla side but I like some of the filter, delay and glitch effects used starting in the breakdown. Not sure why the saw that enters at 1:12 and again at 2:55 needed to be hard-panned to the right. Bass gets boomy at 1:53. I feel like the track ends abruptly, even with the laugh at the end, the melodic portion has no resolution, one final note would have been great, imo. A few mixing nitpicks, but this is cool and works overall. YES

The intro is indeed beautiful, although the harp plucks are very rigidly sequenced. The flute sequencing is interesting and detailed, but Wes is right, there is no attempt at realism, this flute player does not breathe. The hand drums are nice but the pattern is repetitive. The biggest issue is the dissonance. Dissonance has to be used carefully for effect, and I don't feel like it is working here. The flute melody and countermelodies are all over the place, stepping on each other, playing notes that are dissonant from each other and from the backing elements. The fact that the backing arp sounds so mechanical, and that it never changes, really amplifies my feeling that the dissonances don't work here. It's like one aspect of the writing attempts to be very experimental (the dissonances and extensive soloing) while another prominent aspect (the simple, mechanical arp, and even the repetitive hand drums) remains constant. I have to agree with Wes, there is a lot to like here and some solid ideas, but they aren't clicking in this form. NO

Nice conversion of a 6/8 source to 4/4, and great guitar performances here! Good original transition writing. The writing, both source and original transitions, is repetitive. The soloing beginning at 3:11 is a highlight to the track, but the rest just kind of repeats itself. Drums are repetitive. As I keep listening, the snare and hat groove never ever changes, the only changes are the occasional kick fill. The snare and hat groove are dragging this down for me. This isn't helping my feeling of overall repetition here. Jury is out for me.

I feel like the distortion problem in the intro is that the lead guitar is too fuzzy. It is making the lead disappear into the soundscape imo. The electric guitar also sounds quite different to the acoustic guitars that follow it, the acoustic guitars sound louder and it's a big contrast. The electric guitar sounds too fuzzy to my ears wherever it appears in the track, and too quiet. Perhaps a re-amp is needed? Agreed with Mike that the drums are a bit vanilla. Drums could have more volume and presence. I'm not a fan of the extreme panning in the outro, it makes me think my left speaker has suddenly failed. Definitely a conservative arrangement, but the performances are absolutely dynamite. DAT SOLO. Even with some nitpicks, this is good stuff! YES

New version up. Bump.

I like the hoofbeat percussion in the intro! They could be louder and they are a bit dry, and I think some further horse sounds could be added! Why not? How about a couple of soft whinnies and snorts? Maybe some distant chickens and other farm sfx too? I like to make a track into a story whenever possible, and this track would definitely qualify for that treatment! With enough tasteful reverb on the sfx, it would really tell the story well I think. Freesound.org is great for sfx of all kinds. This is cute and emotive but very simply and stiffly sequenced without much humanization of the instruments. The cello notes are very long and unhumanized from 0:38-1:10. The flute and oboe players don't take any breathing breaks! The high strings sound quite a bit better by comparison. I really like the arrangement even thought the melody playthroughs are conservative. I wish it were mastered a little louder overall, the dynamics are good but it's almost too quiet for most of it. The final passage is really nice! But I feel like that passage could stand to have a little more bass presence. The bass could be louder overall throughout the track. The chords at 3:07-3:12 are so gorgeous. Honestly, I really love this, it is bringing tears to my eyes. I'm on the fence here because it's just that sweet an arrangement. Gonna see what other say. Needs moar horse. And chickens. And stuff. edit 1/4/16: Listening again, I still really like this arrangement, but I feel that the simplicity of the majority of the writing absolutely demands that the articulations of all the instruments be as humanized as possible. It's not going to take too much for me to pass this personally, but I'd like one more pass at the humanization. Please also consider my sfx idea! NO (resubmit)

Wes hit every issue I would have also brought up. The track is lovely but needs to be rebalanced, most especially the metallic percussion. Turn that down and add some really nice delay. Leads are buried, sometimes it's just competing countermelodies and no focus. Bass is very quiet and lacks any kind of impact. The arrangement is very conservative. Still, there are a lot of good ideas going here. Lots of work to do but I think it's a good start so far, use this as an opportunity to bump up your production game. I'd prefer a proper ending other than a fadeout but that's just my preference. NO (resubmit)

Wow that guitar sounds good. The accompanying guitar is just enough to add interest but not sound too busy. I would have preferred a little louder and more varied padding to fill out the soundscape, but what is here is lovely. The rain sfx are tastefully used and not overdone (as it quite often is on this source!). SoS does get a bit repetitive but you wove in the other two themes so subtly and added your own variation so it never gets stale. Really nice track, simple and elegant. It could stand to be mastered about 3db louder. (OoT is one of MY favorite games, too. ) YES

Intro piano is stiffly sequenced but I like the delay on it. Great drop at 0:22 but it needs to be signaled somehow, with just anything used to introduce it, even a white noise sweep. Drum groove is great when it enters, kick is too quiet, needs more impact. The bass sounds good but it is so low, on some playback systems it won't even be heard. This bass sounds like a good sub-bass layer that would do well with something a little higher frequency layered with it. The lead is the biggest issue to me, the timbre is so plain and simple, and the writing is so repetitive and verbatim to source. The looooong notes are a particular problem, if you sidechained the kick to that lead just a bit, it would groove so much better. You could also add some subtle glitching, phasing, or something else to the lead during the long notes especially, to really make a statement. A little original lead solo at some point would be dynamite. Good buildup at 2:30, could even be longer and more intense. That's the kind of thing that is needed before the first drop as well. This is a really good start! It's not quite there yet but please don't give up on it! Take the opportunity to learn a bit more about mixing and then let's hear this again. NO (resubmit)

Emu has articulated the issues very well. The chippy sounds are cool but aren't balanced well. Leads are much too loud compared to the bass so the track sounds bass-light. The drums are so soft and quiet that they are almost an afterthought, and it's a shame because the writing is really good. You need some serious beef in that kick, snap in that snare, and the hats are barely there, they need some more volume and meat to them and some delay on them. There is a lot going for this track, the writing and arrangement are great, but the production needs a big overhaul methinks. NO (resubmit)

Wow that Twinkle Twinkle track is gorgeous. While I see the similarities in structure between this track and yours, I find that the Twinkle Twinkle track tends to build and ebb, the dynamics are all over the place yet it sounds cohesive overall. The playing style isn't so different from movement to movement that it feels choppy, which I feel is the case in your track. In your track, there are definite stops and starts, and each start brings a brand new style although the instrumentation is the same. Each section of your track has a very definite OUTRO so I feel like it really doesn't flow. In Twinkle Twinkle, there is somewhat of a finality to each section, but nothing I would consider an OUTRO, more of a purposeful pause for the listener to be ready for something slightly different. By comparison, your track still sounds like four really separate ideas pasted together. I do see your argument for getting your track posted based on this stylistic similarity. While Joe's playing is super good and competent, I personally don't find this stop/start style enjoyable, to be honest. Perhaps djp should weigh in on this one. If we do decide to accept this track, it will be setting a precedent for the site. sorry still NO for me

Agreed with Larry above. Great writing and orchestration of this cover, but every instrument needs to be humanized and/or replaced with better samples. Every attack on every instrument sounds the same. Layering articulations is what is needed, so the attacks are different for the different writing passages (long notes vs. shorter ones need different attacks), as well as making sure the notes don't necessarily all hit exactly on the grid every time. I'll add that the piano, while creepy and dark, is also very stiffly sequenced. You clearly can write and arrange, it's time to step back and get up to speed on production and humanization, then you'll be killin' it for sure. NO (resubmit)

I like it!

Thanks! That scrapy, grindy bass timbre inspired the entire track! I fell in love with it myself!

The Frantic Caller On Sept 11, 1997, a man called in to the Art Bell radio show, desperate to talk about his having worked at Area 51. What he had to say was terrifying. A few minutes into the broadcast, the entire radio station's power was shut down. Coincidence? Seven months later, a man called the Art Bell show claiming to be that caller, and even recreating the fearful voice from the previous call. Was this a hoax? Who knows, but it makes for a spooky track. Enjoy!

Sorry it was confusing Larry. The motif is most easily heard from 0:07-0:14 in the source tune, or again at 0:51-0:58 in the source. It's just those 16 notes that I used. Wherever I've used the motif, the notes are exactly the same as the source, but transposed down a half step. I did add some swing to the melody in my mix from 0:45-1:15 and again from 3:15-4:52. The notes are identical though, just down a half step. Looking at this under a microscope, I see I did alter a couple of notes in there, at the ends of some of the phrases, from 3:45-3:48, 4:15-4:18, 4:30-4:33 and 4:45-4:48 for a teeny bit of variation and to fit my concept. So we can remove 12 seconds from my count. New total is 150/292 = 51.4% source. Again I apologize that this is hard to hear, and I know this mix is a bit source-light compared to my usual amount, I usually prefer to overshoot the goal. Don't close this thread out though, I'm actually doing a revision to make a breakdown, as Flex suggested. He was right about that. The track will be the same but with a brief bit of relief from DAT_RELENTLESS_KICK.exe.

Oh my goodness... I never would have expected to hear this upbeat 4/4 source slowed down to a dreamy 6/8 ballad. The source tune plays over and over, but with subtle melody variations and the additional padding that comes in, it never really repeats. I like the bassline writing. I personally would have liked even more elements, but the simplicity is working for me. This is simple yet elegant. The render cuts off before the end of the reverb tail. Note for next time, make sure you capture the whole thing. edit 11/9/15: Wes says the guitar is sequenced. I didn't even catch that on the first listen. Listening again, it does sound sequenced, very well sequenced. I'm going to give this a borderline only because of the repetitiveness of the arrangement, and it's length. Seven minutes is a bit long; I feel it could have been two minutes shorter and that would alleviate some of the repetitive feel. Even so, I find it very enjoyable. YES (borderline)

Contact information: My remixer name is: MasterGi My email is: My userid is: 52576 Submission information: Name of game arranged: The legend of Zelda - The Wind Waker Name of arrangement: Ballad on the Sea Name of individual song arranged: The Great Sea Hi! My real name is Giorgio and i'm from Italy. This is the first track that i send to OCRemix! It is a cover of one of my favourite video games song of all the times: The Great Sea from The Legend of Zelda - The Wind Waker. This cover is in a classic slow rock and roll ballad. I have to thank in particular a Youtube musician: boozinwalsh (this is the link to his youtube page: https://www.youtube.com/user/boozinwalsh) because i've taken the inspiration for this arrangement from his cover of this song. I hope that my arrangement will be accepted. Bye! MasterGi

AnalogStik John Montoya john@affinitypixel.com http://analogstikmusic.com User ID - 53088 Game - Mega Man VI Name of arrangement - Royally Screwed Name of original song - Knight Man Personal comments - My brother always talked about how he loved Mega Man VI when he was growing up. I decided to rerecord one of my own personal favorite tracks for him!

AnalogStik John Montoya http://analogstikmusic.com User ID - 53088 Game - Mega Man VI Name of arrangement - Robo-Freeze Name of original song - Blizzard Man Personal comments - My brother always talked about how he loved Mega Man VI when he was growing up. I decided to give this theme my own little twist by trying to give it that vintage rock sound to it. Link to remix - I have the original file if there are any encoding problems.

AnalogStik John Montoya http://analogstikmusic.com User ID - 53088 Game - Goldeneye 007 (N64) Name of arrangement - Intruder Alert Name of original song - Runway Personal comments - Graeme Norgate has been inspiring me since I was a little kid with his contribution to Goldeneye 007's OST. There was a certain sound that you hear in this remix that was used a lot in the original OST. I reached out to Graeme and asked him, "Man, I've been wondering what this certain sound was for years! Where is it from?" Here is his exact reply - "About 3 years ago, I thought I'd write a blog about that sound... I still haven't done it, but the amount of times, this questions comes up, I really should The "pole" sound you refer to, is called infinite and was from the Proteus FX sound module. There's a similar type of sound on the Roland R8 drum machine.. Spark and Thriller. But the Proteus is the one that was used on Goldeneye." He then provided me links to help me find that "pole" sound from the Proteus FX sound module. Once I discovered it I figured it was time to make a remix of one of my favorite songs from the game! I used the same exact sound from the Proteus FX. There's a digital copy of the sounds available here - https://www.digitalsoundfactory.com/products/e-mu-proteus-2 Special thanks to Graeme Norgate for finally helping me figure out what that "pole" sound was and for inspiring me to enter the video game industry. You rock! Link to remix - I can change the encoding if needed - I still have the original project file. Thanks for listening to my submission! If you have any questions please feel free to contact me! - John Montoya P.S. if this get's accepted and you find grammatical errors in my "Personal comments" sections, please feel free to correct them.

This has to be the strangest remix I've ever personally heard. The concept is pure genius, and honestly I love it. The source works perfectly with this concept. The mix is well crafted and mixed. This mix is hilarious for the album, but I'm honestly not sure this can be a standalone mix on OCR. With the vocals, there is a lot of space where there is no music, and sometimes there is just silence in between. Does this even land within the vicinity of OCR standalone mix standards? I suspect it does not, but I will wait for Larry's reply on this one. Either way, super silly fun. These are the worst jokes ever, ever, EVER. edit 12/4/15: I still like this simply because it's so odd. I can't see it as an official OC ReMix, though. NO